November 7– 9, 2002
A design education conference
Sponsored by : the Association of Independent Colleges of Art and Design with support from The Richard C. von Hess Foundation
HearSay: 10 conversations on design
Conference host : The University of the Arts Philadelphia, Pennsylvania Alberta College of Art Art Academy of Cincinnati Art Center College of Design Art Institute of Boston Atlanta College of Art Burren College of Art California College of Arts and Crafts Cleveland Institute of Art College for Creative Studies Columbus College of Art and Design The Cooper Union for the Advancement of Science and Art Corcoran College of Art and Design Emily Carr Institute of Art and Design Kansas City Art Institute Laguna College of Art and Design Lyme Academy of Fine Arts Maine College of Art Maryland Institute College of Art Massachusetts College of Art Memphis College of Art Milwaukee Institute of Art and Design Minneapolis College of Art and Design Montserrat College of Art and Design Moore College of Art and Design Nova Scotia College of Art and Design Ontario College of Art and Design Oregon College of Art and Craft Otis College of Art and Design Pacific Northwest College of Art Parsons School of Design Parsons in Paris Pennsylvania Academy of the Fine Arts Pratt Institute Ringling School of Art and Design Rhode Island School of Design San Francisco Art Institute School of the Art Institute of Chicago School of the Museum of Fine Arts, Boston School of Visual Arts The University of the Arts November 7– 9, 2002
A design education conference
Sponsored by : the Association of Independent Colleges of Art and Design with support from The Richard C. von Hess Foundation
HearSay: 10 conversations on design
Conference host : The University of the Arts Philadelphia, Pennsylvania Conference contact information The University of the Arts acknowledges the generous Professor Jamer Hunt support of the Richard C. von Hess Conference co-chair Foundation for supporting and Director, the educational goals of this Master of Industrial Design program conference. The University of the Arts 320 South Broad Street Philadelphia, PA 19102 t: 215.717.6253 e: [email protected]
Professor Chris Myers Conference co-chair and Faculty in Graphic Design The University of the Arts 619 South 10th Street Philadelphia, PA 19147 t: 215.551.5110 e: [email protected]
Dean Stephen Tarantal Dean College of Art and Design The University of the Arts 320 South Broad Street Philadelphia, PA 19102 t: 215.717.6120 e: [email protected]
Hear Say : 2 contents
2contact information
5conference description
6agenda
8speakers
11 workgroups
22hotel information
23transportation
25registration form
Hear Say : 3 Basic Skills
Criticism and History
Design Education
Digital Transformation
Plenary Sessions
Generalist versus Specialist
Interdisciplinary Education
K–12 Design Initiatives
Sustainability Research Social Action The University of the Arts is hosting the Association of Independent Colleges of Art and Design’s Fall 2002 conference, which will focus on design education. The discussion topics were determined by a poll of the A I CAD member schools. The diversity of the selected design topics suggested a conference structure comprised of ten breakout sessions (groups of ten to fifteen participants) scheduled simultane- ously throughout the conference, with multiple plenary session reports to keep the entire conference apprised of the course of the discussions. The unique format of the conference encourages the participants to register in advance for the topic of their choice. The registration form contains specific instructions for indicating topic preference. The goal of this conference structure is to foster in-depth discussion among professional educators with mutual concerns, who are interested in a participatory, not a passive, experience. The discussion groups and follow-up elect- ronic conversations after the conference are designed to engender new possibilities for networks. A moderator, selected by the planning committee, will organize and lead each breakout group. Two advocates in each workgroup will address their respective topic from distinct perspectives. We expect each breakout group will be highly interactive with substantive discussions resulting in published conference proceedings. The conference proceedings are projected to be an “intellectual census” of contempo- rary design education, a springboard for curriculum development, and a reference for the continuing evolution of accreditation standards of academic programs. The breakout discussions will continue through a period of moderated electronic conversation, and with the help of a designated editorial staff, the final proceedings will be distributed to all participants in the Spring of . By incorpo- rating continued participation beyond the conference, it is hoped that the bonds, established through conference and post-conference electronic conversation, will continue to develop into on-going professional associations and project collaborations in the future. Though these intimately-scaled conversations are meant to be the core of the conference, the event will also feature unique presentations which will serve as interludes. These speakers will come from fields outside of the established design professions, providing connections to design and expanded applications of design methodologies.
Hear Say : 5 Agenda
November 7, 2002 Thursday evening Opening Events 4:00 pm – 7:00 pm Registration
4:00 pm – 5:30 pm Pre-conference organizational briefing: moderators and conference staff
6:00 pm – 7:30 pm Dinner
8:00 pm – 9:30 pm Keynote Speaker Steven Johnson Writer and technology commentator, New York City
November 8, 2002 Friday morning: Session I 8:00 am – 9:00 am Breakfast and coffee
9:00 am – 9:30 am Welcome
9:30 am – 12:00 pm Workgroup session I Moderators’ introduction to the workgroup process. Presentation of the advocates’ viewpoints. Identification of key issues, problems, questions, or debates. Develop report for the plenary session.
12:00 pm – 1:30 pm First progress reports from the workgroups.
1:30 pm – 2:30 pm Lunch Opportunities for further interaction.
Hear Say : 6 Friday afternoon: Session II 2:30 pm – 3:30 pm : Michael Moschen A “millennium artist” and MacArthur fellow
3:30 pm – 5:30 pm Workgroup session II Strategize short and/or long term goals and appropriate actions. Identify tactics and a format (i.e. manifesto, syllabus, legislation, website, etc.) for group’s ideas. Assign roles and subgroups, if necessary. Draft content for presentation to plenary session.
6:00 pm – 7:30 pm : Cocktails Workgroup presentations in an open environment.
November 9, 2002 Saturday morning: Session III 8:00 am – 9:00 am Breakfast and coffee
9:00 am – 9:30 am Announcements
9:30 am – 10:30 am : Johnny Irizarry Artist, educator, and community builder, Philadelphia.
10:30 am – 12:30 pm Workgroup session III Develop strategy for sustaining the group’s agenda. Distribute responsibilities, roles, and contact information. Create protocol for further contact and action.
1:00 pm – 2:00 pm Lunch
2:00 pm – 3:00 pm : Closing session Reports on the objective and strategies for maintaining dialogue. Final remarks and closing ceremonies.
3:00 pm – 4:30 pm Open meeting Moderators, editorial staff, and interested participants. Planning for post-conference publishing.
Hear Say : 7 The three presentations that will help shape HearSay offer perspectives on design that are not typically part of the conversation. Each represents a node on a more expansive design network. For Steven Johnson, design is a matrix through which he discerns organization and perceives pattern differently. For Michael Moschen, design is a means beyond the familiar and toward something startling. And for Johnny Irizarry, design is a mechanism to create and shape community access and opportunity. It is our hope that these original voices will expand our own understanding of how design connects to and transforms our world.
Steven Johnson Steven Johnson is the author of Emergence: Keynote The Connected Lives of Ants, Brains, Cities, Speaker and Software (Scribner), acclaimed as one of the best books of by Esquire, The Village Voice, Amazon.com, and Discover Magazine. The UK Guardian called Emergence “intelligent, witty and tremendously thought-provoking,” and it was named as a finalist for the Helen Bernstein Award for Excellence in Journalism. Johnson was also cofounder and editor-in-chief of FEED, the pioneering online magazine, as well as a co-creator of the Webby-award-winning community site, Plastic.com. He was named by Newsweek as one of the “ People Who Matter Most on the Internet.” Johnson’s writing has appeared in The New Yorker, Wired, Lingua Franca, Harper’s, and the London Guardian, as well as on the op-ed pages of The New York Times and The Wall Street Journal. He has made numerous television and radio appearances as a technology commentator, including ABC World News Tonight, Charlie Rose, and NPR. The New York Times’ Michiko Kakutani called his first book, Interface Culture, “one of the most thoughtful, literate studies yet published on the cultural impact of recent technological change.” Johnson lives in Manhattan’s West Village with his wife and son.
Michael Moschen Michael Moschen has performed with the Big Apple Circus, Lotte Goslar’s Pantomime Circus and with Bill Irwin in Not Quite/ New York and The Courtroom. He has been featured at theatre and dance festivals in Hong Kong, Perth, Edinburgh, Barcelona, and Spoleto USA with Fred Garbo and Bob Berky in the Obie Award winning, Foolsfire. Mr. Moschen collaborated with Mr. Berky in the creation of The Alchemedians which was presented Off-Broadway in and has toured throughout North and South America. In he created and performed Michael Moschen in Motion at the Brooklyn Academy of Music’s Next Wave Festival. He also has performed as part of the Serious Fun Festival at Lincoln Center. Movie credits include Hair and Annie. Mr. Moschen created, choreographed and performed with crystal balls as actor David Bowie’s hands in the Jim Henson film Labyrinth. Television appearances include Evening at Pops (with the Boston Pops), Maury Povich, Penn & Teller’s Sin City
Hear Say : 8 Spectacular, The Tonight Show starring Johnny Carson, Jerry Lewis MDA Telethon, The Montreal International Comedy Festival ( Just for Laughs) on Showtime, Ricky Jay’s Learned Pigs and Fireproof Women, Sesame Street, The David Letterman Show and PBS’s Alive from Off-Center. He made his television dramatic acting debut in L.A. Law. In he created and starred in In Motion with Michael Moschen for Great Performances on PBS. He has made television appearances in England, Spain, Italy, Chile, Argentina and India. Mr. Moschen was commissioned by Cirque du Soleil to create and stage a new work for their permanent theatrical circus in Las Vegas, which has also toured with Quidam. In , Mr. Moschen was the keynote speaker for the National Conference of Teachers of Mathematics and in for the New York Teachers of Mathematics. He has also lectured on innovation and creativity at such prestigious universities as Carnegie Mellon and MIT. Mr. Moschen is currently featured in the book The Virtuoso: face to face with extraordinary talents and in the A&E documentary The Mystery of Genius. He was recently invited to perform as part of the Kennedy Center Honors. Mr. Moschen is in constant demand for a wide range of corporate projects including industrial and educational films, live performances and lectures. Mr. Moschen has received support from the National Endowment for the Arts through choreographer’s fellowships and inter-arts grants. He was the recipient of a MacArthur Foundation Fellowship. Mr. Moschen is a NYC Fireguard. When not performing, Mr. Moschen is creating.
Johnny Irizarry Since graduating from the Philadelphia College of Art (now The University of the Arts) in , Johnny Irizarry has been building educational and cultural institutions directed toward advancing Latino culture in Philadelphia. He currently serves as CEO of The Lighthouse, a multi-service, community-based Settlement School. Previously he served as teacher and Coordinator of The Arts Literacy Programs at Nueva Esperanza Academy Charter High School in North Philadelphia. He was Chief Administrative Officer of Philadelphia’s Eugenio Maria de Hostos Community Bilingual Charter School, and he worked as Program Specialist for Puerto Rican and Latino Studies for the School Distraict of Philadelphia’s Office of Curriculum Support. In this capacity he was responsible for citywide programs and curriculum development in Purerto Rican, Caribbean and Latin American Studies. For twelve years, Irizarry served as Executive Director of Taller Puertorriqueño (the Puerto Rican Workshop), a North Philadelphia community-based cultural Latino arts center. Many of the programs developed at Taller address social issues, using the arts as an agent for social change, justice, and community development. For his outstanding work as a proactive educator and community builder, Irizarry received the Paul Robeson Social Justice Award, an Honorary Doctorate from Swarthmore College, a James Van Der Zee Award from the Brandywine Workshop, and the Friends of Kids Award from the Please Touch Museum, among many others.
Hear Say : 9 Advocate
Reporter
Participant
Participant
Moderator
Participant
Participant
Participant
Advocate Participant Reporter 1 Hanno Ehses is full professor in Basic Skills the Department of Communic- ation Design at the Nova Scotia College of Art and Design in Moderator Hanno Ehses : Halifax, Canada and an adjunct faculty in the Master of Inform- ation Design program at the The lack of a broad-minded education of Universidad de las Americas, graphic designers beyond the technicali- Puebla, Mexico. He has taught in ties of form construction has produced many countries and has con- several generations of narrow specialists tributed numerous articles to a and stylists— designers that produced variety of design journals. He is banal communication that “look” profes- a graphic designer and typogra- sional because they have the superficial pher with a special interest in the properties of things that our Western theoretical and practical aspects culture has agreed to identify with of design, particularly focused on “graphic design.” While visual sensitivity, the issues of visual rhetoric and dexterity, and sophistication are indispensa- semiotics. ble components in the formation of a graphic designer, schools have so far failed to develop the mind-set and strategies needed to cope with the dynamics, fluctuations, and complexities involved in shaping communication processes and the products that result from it. Anyone passing through a graphic design program should feel that they have been educated, not just trained. Graphic design has moved from being a trade to becoming a profession and discipline. As a trade it has been taught like a grammar, as a fixed set of skills and knowledge. As a profession, however, it is necessary to educate the student for the future and, since the future is unpredictable, students should be guided to basically learn how to think, how to confront new situations at a global and regional level, and to build adequate and creative responses to them. This puts emphasis on dynamic and permanent learning. Design education should not be based on a uniform model, but based on a cultivated plurality of principles that prepares students for a changing world—not only in technology, but in the needs and expectations of the human beings whom we ultimately must serve. A fruitful discussion of basic skills might be best accomplished within a frame- work that, on a most fundamental level, views design education as being grounded in preparing students in creating visual products for advocates ‘pro-active and reactive’ situated communication based Geoffry Fried on balancing three interdependent aspects: the Chair, Design Department, students’ interests, aspirations and ethos; the need and The Art Institute of Boston expectations of the public or audience; as well as the skills needed to execute, understand and interpret Ken Hiebert a subject matter. Professor Emeritus, In order to confront the present challenge, The University of the Arts what are the building blocks of a designer’s education? How might they differ from past traditions, and if so, at what costs? Are there any models from other disciplines that could assist us on this journey?
Hear Say : 11 2 Since January 2001, Dawn Design Criticism Barrett has been Dean of the Architecture + Design Division of and History Rhode Island School of Design in Providence, Rhode Island. From Moderator Dawn Barrett : 1995–2000, Dawn Barrett was Head of the Department of It Takes A Discourse Design, at the Jan van Eyck This discussion is set to begin at a point Akademie, a post-graduate somewhat beyond the comfortable but false werkplaats and research centre opposition of theory and practice. While for Fine Art, Design and Theory history has been valued (however nominally) in Maastricht, the Netherlands. as a requisite element in design curricula, Barrett’s writing has been criticism is less often encouraged as an issued in various publications, independent academic pursuit and is mani- Parallax, Visible Language, and fest more frequently as prime pedagogic Zed as well as the anthology, means. The critique process is traditionally design Beyond Design, edited by the prerogative and platform for the educa- Jan van Toorn. Most recently, tor. The public arena of Final Crits typically Barrett edited the English edition reinforce students’ capacity for explanation of Interface - an approach to and defense rather than speculative, genera- design, by Gui Bonsiepe tive, or critical thinking. How then might history and criticism practices be beneficially integrated in the experience of the student, and to what effect are these disciplines appropriately introduced as interesting pursuits for future practitioners? Assuming a complementary rather than oppositional relation between the verbal and the visual, between contemplation and action, analysis and synthesis — it is possible to identify how criticism and history have consistently provided an intellectual, analyti- cally verbal counterpoint against the dominant advocates visual preoccupation with form and the synthesizing Steve Heller demands of function. Co-chair, MFA in Design Common metaphors of design practice reveal program, School of Visual Arts the interdependent, exchange of visual and verbal modalities. From the iterative response of materials Ellen Lupton (talking back to the actions of the hand) to the Chair, Graphic Design resistive dictates of technologies; from the dialogic Department, Maryland Institute exchange of precedent (where objects speak across College of Art time and through context); to the aggregate, multi- voiced discourse where the design subject is no longer limited to objecthood or judged exclusively on its aesthetic utilitarian value, but where design practice itself becomes the prime subject of inquiry. Questions that frame this discussion include, but are not limited to: Is design discourse grown from practical applications (in the same way the French cuisine claims development from a practical art to a true discourse)? What agenda is served by more rigorous expectations for history or criticism in current design education? In what way does the development of design criticism and history follow a parallel course as the development of art criticism or art history?
Hear Say : 12 3 Developing Design Educators
Moderator : Tom Ockerse
In its root meaning the word “education” Dutch born Thomas Ockerse means “to draw out.” Whereas Aristotle teaches at Rhode Island School of considered the individual born “empty” Design. There he heads graduate into which knowledge was to be “poured,” studies in graphic design, and was Plato understood education as a process that department head from 1973 to “draws out” what is already within. Plato’s 1993. Ockerse is known interna- perspective reflects a sense of wholeness, tionally for his explorations of wherein the function of education is theories in language experiments merely to help in the unfolding of one’s and sign theory (semiotics) as intelligence as the capacity to perceive the applied to the visual communica- essential. Principle educators (Pestalozzi, tion, the visual language, art/ Froebel, Montessori), like Plato, perceived poetry/design practice, and design the student from that holistic perspective. education. He has published and They realized that intelligence can only lectured widely on these topics and unfold from one’s conscious integration has directed and taught numerous with nature’s laws relative to experiencing workshops on semiotics and our world. creativity in the arts. Ockerse has In this context, design education has consulted many institutions on failed in that it continues to emphasize design education, including the technique and information. To merely train AIGA and the National Institute of or inform means to teach efficiency and Design in Ahmedabad, India. conformity, and such proficiency can never The American Center for Design lead to wholeness. Moreover, to cultivate presented Ockerse with their 1991 these aspects without understanding one-self Education Award. (thoughts, feelings, reactions) can never bring about creative understanding. Today’s science, as opposed to Aristotle’s, (e.g., Bohm’s implicate order) increasingly confirms our need to understand wholeness. The need to understand requires inquiry which is the very means to help draw out and unfold, and is there- fore critical to education. Without inquiry we remain in advocates the status quo and creativity is impossible. Inquiry, Lucille Tenazas being also the very nature of design, forms an interest- Director, MFA in Design ing correspondence to education. It can be stated program, California College that the ideal teacher is nurtured from the combined of Arts and Crafts experience in design practice followed by the reflective experience in graduate study. Practice informs study, Sharon Poggenpohl study informs practice, and the practice of reflection Faculty in Visual is to synthesize both. Communication, Institute of Design, Illinois Institute of Technology
Hear Say : 13 4 Digital Transformations
Moderator : Dr. Ron Burnett
Our culture tends to draw easy distinctions between machines (non-humans) and humans — distinctions that encourage us to believe that the non-human is separate from us and that we simply use technologies such as computers as tools. Rather, I believe that we have always mapped technology into and onto advocates our beings and our bodies. The distinctions Jurgen Faust that we have to draw are not between Chair, Technology and Integrated machines and ourselves, but between Media Environments-Digital disparate levels of involvement with tech- Arts, Cleveland Institute of Art nologies and many levels of synergy and interdependence, as well as alienation. This Deborah Healy doesn’t Professor, Computer Animation Dr. Ron Burnett, President, Emily mean Department, Ringling School of Carr Institute of Art+Design is the that the Art and Design former Director of the Graduate tensions Program in Communications at that exist McGill University and the author between of Cultures of Vision: Images, computers and humans, for example, are Media and the Imaginary (IUP, unimportant. Rather, the diverse levels of 1995) and of the forthcoming, mediation that supplement and enhance the depth How Images Think (MIT Press). of the interaction largely define the relationship. Burnett is also resident Artist/ Bruno Latour has described this set of relation- Designer at the New Media ships as a collective of humans and non-humans Innovation Center in Vancouver, and by this he means that the links between the author of over a hundred humans and their technologies makes things published articles in journals possible that neither could achieve without the and books and a filmmaker and other. Technology is an inherent constituent photographer. He has been of everything that we define as human. The President of Emily Carr for the Digital Future is about gaining more control over last six years. the communications ecology that we have put in place since the invention of the printing press. It is artists and designers who will be best placed to take advantage of this exciting cultural, social, and economic configuration.
Hear Say : 14 5 Susan Yelavich is the Assistant The Education Director for Public Programs at Cooper-Hewitt, National Design of the Generalist versus Museum, Smithsonian Institution, the Specialist and is responsible for the Museum’s programmatic initiatives, Moderator : Susan Yelavich exhibitions, education, and publications. She is co-curating the 2003 National Design Are interdisciplinary studies a passing Triennial and co-curated the 1997 fancy? What evolutions in the cultural, technological, political and creative worlds exhibition Design for Life: A justify inter-disciplinary education as a goal? Centennial Celebration. She was In the context of an undergraduate instrumental in the establishment education in design I believe there are two of the Museum’s National Design necessary modes of interdisciplinary studies Awards program. Her publications that bear examination and need modeling include Design for Life (1997) and to evaluate their efficacy. Underlying what The Edge of the Millennium: An follows is the profound belief that the more International Critique of Architec- broadly educated an individual is the better ture, Urban Planning, Product and will they be equipped to survive in a work Communication Design (1993). environment that is continually in flux. First, there is what I call intradiscipli- nary studies which examine the relationships between different design practices, whether it be the correspondence between the architecture of Piranesi and that of Peter Eisenman, or whether it be the relationship between Alexander Girard (textiles/furnishings) and the Pushpin Studio (graphic design). Second, there is the conventional notion of interdisciplinary studies that relate the arts and design to political, philosophical, scientific thinking, etc. Sometimes these relationships can be found in close proximity, i.e. Diderot’s documentation of decorative arts and crafts within the rationality of the Enlightenment; other times more distantly, for example, in the relationship of totalitarianism and modernism. I would argue that to foster intradisciplinary thinking, undergraduates should have a model of liberal arts education adapted to a design education. One should be able to “major” in industrial design and “minor” in fashion design. To foster interdisciplinary education, foundation courses need to be questioned and liberal arts requirements thoughtfully codified. My sense is that the liberal arts courses offered in design schools advocates can be so varied and so optional that they Leslie F. Becker end up serving more of a marketing Chair, Graphic Design function (choice for the student) than an Department, California College educational function. Developing “modes of Arts and Crafts of thought” courses may be a possible path to address interdisciplinary learning while Jonas Milder accommodating student choice and voice. Chair, Industrial Design Department, The University of the Arts
Hear Say : 15 6 Michelle Barfoot is a digital Interdisciplinary artist and designer with 15 years experience in Human Computer Education Interaction (HCI), specializing in software application and Moderator : Michelle Barfoot usability. For the past several years she has been leading The climate of design in the 21st century interdisciplinary teams, including is forcing higher education to reevaluate Proctor & Gamble, Merrill Lynch its system for educating art and design and GlaxoSmithKline, to design students. The competitive designer of web-based solutions. Ms. Barfoot this century will be self-directed, thriving is a part-time professor at The within emerging and interdisciplinary University of the Arts and the Art domains that are seeking to fuse aesthetics, Institutes Online teaching culture and technology with human digital interface design across sciences, and other disciplines. Designers several disciplines physically and will work with complex integrations of virtually. our “real” and digital lives, in collaborative frameworks, via multiple channels, mediums, and levels of discourse simultane- ously. Students need an enhanced framework to effectively respond. Wise thinkers have always realized connections advocates between arts, philosophy and science. It’s only been in Mark Brietenberg recent times that we’ve all had to work collaboratively Chair, Liberal Arts and while seeking to understand our new “e-Nhanced life,” Sciences, The Art Center College via global connectivity. Designers, scientists, anthro- of Art and Design pologists, librarians, business experts, etc. grapple with a new culture emerging from this web of complexity, Chava Danielson as a matter of survival, not mere fashion. As this trend Faculty in Environmental rapidly increases, the need for diverse teams of Design, Otis College of Art and multidisciplinarians solving systemic problems will Design continue to proliferate. Similarly, design itself begins blurring edges when confronted with this new landscape or systemic perspective. Therefore, interdisciplinary design, “x-Design,” might be described in terms of a landscape. Design in this post-modern context cannot limit the scope of education to technical training in the alterations of surfaces, objects, or spaces. By embracing the complexities, x-Design thinking is a platform for design to become a significant connective process rather than a mere making process. To provide educational experiences that will support students facing an inter- disciplinary world, we need to consider the following: What ought to be the foundation of study? What roles should “disciplines” have in a multidisciplinary space? How do disciplines effectively converge and diverge in this climate? Is there a global discipline emerging?
Hear Say : 16 7 K-12 Design Initiatives
Moderator : Meredith Davis
National interest in K-12 design advocates
education spans nearly 30 years in this Randy W. Granger country. In recent times, increasing numbers Head of Visual Arts, of teachers and administrators see design William Penn Charter School as a strategy for achieving the goals of education reform, meeting national Amy B. Snider standards in a variety of disciplines, and Chairperson, Art and Design integrating curriculum through situated, Education, Pratt Institute project-based learning experiences that engage children in real problem seeking and problem solving. My work with K-12 teachers and students applies design think- ing and pedagogy to a range of educational contexts: from pre-college design camps; to the development of curriculum for art, science, social studies, and language arts classrooms; to K-12 teacher development; to the assessment of teaching and learning Meredith Davis is Graphic Design in the arts. At no time in recent history has Department Chair and Director of public education been so receptive to Graduate Programs in the College alternate ways of doing things. This is an of Design at North Carolina State unprecedented opportunity for schools of art University where she teaches and design to demonstrate the goodness master's and doctoral courses of fit between the positive outcomes of a design related to design and cognition. education and demands on adults in the st Meredith writes on the use of century. design in K-12 schools, including a two-year study by the National Endowment for the Arts titled "Design as a Catalyst for Learning." She has taught workshops on design in K-12 education for the Harvard Graduate School of Education, Getty Center for Education in the Arts, American Institute of Graphic Arts, National Building Museum, Association of Collegiate Schools of Architecture, Association for Supervision and Curriculum Development, and the Wisconsin and Michigan Departments of Education.
Hear Say : 17 8 Dr. Susan King Roth is an Associate Research in Design Dean for Academic Affairs in the School of the Arts at Virginia Education Commonwealth University. She was formerly an Associate Dean at Moderator : Susan K. Roth the Parson School of Design/New School University and The Ohio State University. She also served Design Research: who needs it? as Chairperson of the Department Design research as a topic of discussion may of Industrial, Interior and Visual appear dry and academic. But design Communication Design at OSU. research practiced with skill and creativity Professor Roth’s research is can lead to innovative solutions and enhance focused on human-centered design the profile of design in contemporary society. and usability issues. As a faculty Research methods leading to new member and chairperson, she knowledge are vital in today’s marketplace of advocated the importance of ideas. Competition for good solutions drives research in design education and the need for concept generation that goes practice. She is currently working beyond multiple aesthetic or theme-based with designers, political scientists variations and marketing considerations. and government officials to study Information gathered through background electronic voting machines and research can result in the development of develop ballot design guidelines. more useful, usable and desirable products and communications. Advanced research involves a compre- hensive examination of the problem and includes characteristics and preferences of the audience/user group; cultural and environmental factors; effectiveness of existing solutions; and exploration of new tools and materials. Many research methods are adapted from the social and computer sciences, for example, ethnograph- ic studies, usability studies, cognitive mapping, virtual simulations, visual analyses of data and others. Who needs it? Designers need it, users need it, clients need it and students need to learn how to do it. Research leads to new ways of viewing problems and solutions, adds value to services provided, and enhances the potential for success. Students gain insight into good design process and human behavior as well. The design professions need it. Architecture, engineering, interior, information and industrial design employ pre-design research, advocates although methods differ. As the nature of practice Clive Dilnot becomes more complex, models that fail to assign Professor in Art History, resources to this area are likely to fail. Theory and Criticism, School of Human-centered research has the potential to the Art Institute of Chicago enhance the quality of life because it begins with the user. It supports responsible design, smart design, and Liz Sanders innovative design as it energizes the design process. President, SonicRim, Ltd., Columbus, Ohio; Faculty in Design, The Ohio State University
Hear Say : 18 9 Social Action and Responsibility
Moderator : David Comberg
The r-word has been a hot topic for years. David Comberg is a graphic From Garland’s First Things First manifesto designer in New York. He teaches () to Papanek’s Design for the Real graphic and industrial design and World () to this year’s design conference design history at The University agendas there has been no shortage of of the Arts in Philadelphia and hype on how important it is for design to has written reviews and criticism be responsible. for I.D. Magazine and Graphics Are a designer’s responsibilities any International (UK). He is a member different from those of the normal citizen? of Class Action, a collective that In most uses design to advocate for social advocates situations change.
Kali Nikitis probably not, Chair, Graphic Design but designers Department, Minneapolis do have at least two unique roles. First, they specify College of Art and Design materials for manufacture that have a significant and often harmful effect on the environment; second, they
Elizabeth Resnick coordinate the production and proliferation of images, Chair, Communications which in turn influence the attitudes and behaviors of Design, Massachusetts College the public at large. The individual who wishes to work of Art within a framework of social responsibility may be stymied by the very nature of the profession as it now functions. Though designers may be empowered by clients to make aesthetic decisions, the client generally determines the purpose and scope of a project and hence its societal impact. Compounding this, the professionalization of their practice (through exclusive conferences, publications and awards ceremonies) creates an impenetrable barrier between designers and those outside its stylish borders. Educators are left to work within an art school paradigm of aesthetics, form and style, where the extreme emphasis on technical training further disables them from addressing larger cultural issues. Their students, upon graduation, are judged on the look of their portfolio and their facility with digital production tools. Gestures, such as printing on recycled paper and recognition of small-time do-gooders, are so widespread that larger issues of sustainability and radical cutback of production are often lost in the celebration. Barring a major societal revision of the capitalist model, it is left to the individual designer to struggle with the complexities of his/her responsibility.
Hear Say : 19 10 Wendy E. Brawer is an ecological Sustainability in designer with an artist's back- ground. Since 1990, her New Design York-based company, Modern World Design, has created servic- Moderator : Wendy Brawer es and products that promote ecological stewardship, including the Green Apple Map of NYC's North America has been besieged by environmentally significant Designosaurs, who have driven us toward places. Under Wendy's direction, depletion and extinction by devoting their this has grown into the Green talents to creating want rather than Map System, an award-winning fulfilling needs. Our practice of consuming local-global collaboration, active % of the world’s energy for the conven- in more than 35 countries. With ience of the chosen % leaves a diminished programs for both city-wide and existence for the rest of humanity, and youth mapmakers, Green Map now, even the free-trade advocates at was spun off as a separate fret about North America’s endangered not-for-profit organization that species (see wri.org & cec.org/soe). Wendy continues to direct. With short-term, market-frenzied goals, Wendy was the 1997 designosaurs persist in endangering our Designer in Residence at the chances of a better life through the Cooper-Hewitt, National Design very measures being employed to achieve Museum, Smithsonian Institution. it. Can we reverse our suicidal tendencies Inspired by renewables, she is and turn back from the brink? the co-winner of Art & Science Let’s create fresh, beautiful and Collaboration's 1999 SolarScape appropriate solutions involving viable competition. In 2001, she was options such as renewable energy, update- named one of I.D. Magazine's ability and de-materialization. Let’s learn to Top Forty Socially Responsible calculate the true costs of a project on the Designers, and was a nominee eco-system and society as we share knowl- for the National Design Awards. edge/tools/skills locally and globally. In 2002, Wendy was awarded a Embracing these new complexities takes Sea Change Residence by the time, but with leadership and vision, design Gaea Foundation. educators and students can actualize the Wendy's talks and articles, integration communication and consulting advocates of ecological projects can be seen online at Erez Steinberg values and greenmap.org/mwd. Faculty, Industrial Design socially Department, California College responsible of Arts and Crafts design into daily practice. Let’s work together to bring forth David Bergman inspiring, broadly beneficial results and boldly Adjunct Professor, Parsons redesign our legacy in these perilous times. School of Design
Hear Say : 20 Criticism and Design History Education Basic Skills
Digital Transformation
Generalist versus Specialist
K–12 Design Initiatives
UArts Editorial Staff Interdisciplinary Education
Research
Social Action
Sustainability Accommodations
We have reserved 50 rooms each at a reduced rate in the following hotels, which are within easy walking distance from UArts. To be eligible for these special rates you must state that you are attending the AICAD HearSay Conference at The University of the Arts, and reserve by the cut off date that is indicated.
The Latham Hotel $ per night plus tax Seventeenth Street at Walnut Street Philadelphia, PA Phone: .. Fax: .. Web: www.lathamhotel.com To get the special rate you must reserve by October , .
Holiday Inn Express Midtown $ per night plus tax (includes Free Deluxe Breakfast Bar) Walnut Street Philadelphia, PA Phone: .. Email: Midtown@nti.com Web: www.himidtown.com To get the special rate you must reserve by October , .
We have also negotiated a reduced rate on rooms at a unique, innovative, “boutique hotel” for business travelers. rooms are currently available— including one suite.
The Inn on Locust $–$ per night plus tax for rooms $ per night plus tax for suite Locust Street Phone: .. Fax: .. Email: [email protected] Web: www.innonlocust.com To get the special rate you must reserve by October , .
Hear Say : 22 other nearby hotels include:
The Loews Philadephia Hotel Located in the former PSFS Building, the hotel is designated as a national historic landmark. Designed by Swiss architect William Lescaze, it was the first modernist skyscraper in the United States. Many of the original architectural features have been maintained. Discounted rates may be obtained through several internet booking agencies. Market Street Philadelphia, PA - Phone: ..
Radisson Plaza Rates: $–$ per night plus tax (Thursday night is more expensive, and you could opt out of breakfast for the lower rates) Locust Street Philadelphia PA Phone: -.. Web: www.radisson.com
Sheraton Rittenhouse Square Hotel Rates: –$ per night plus tax th and Locust Streets Philadelphia, PA Phone: .. Web: www.starwood.com
Transportation Information SEPTA, South Eastern Pennsylvania Transit Authority, has an airport train to Center City Philadelphia. The cost is very reasonable and you would get off at Suburban Station if you are staying at the Latham Hotel, Radisson Plaza or Sheraton Rittenhouse Square Hotel, and Market East Station if you are staying at the Holiday Inn, the Inn on Locust Street, or the Loews Philadelphia Hotel. There are airport vans for $.–., and taxis, costing approximately $..
Hear Say : 23
Registration form
Name
School Affiliation
Address
State Zip
Telephone Facsimile
Every conference participant will be assigned to a workgroup. Please rank three workgroups in order of your preference. Early registrants will be given priority in assignments. All attempts will be will be made to fulfill registrants’ first choice, subject to the enrollment limits of the workgroups.
1 6 Basic Skills Interdisciplinary Education
2 7 Design Criticism and K–12 Design Initiatives History 8 3 Research in Design Developing Design Education Educators 9 4 Social Action and Digital Transformations Responsibility
5 10 The Education of Sustainability in Design the Generalist versus the Specialist Assign me to a workgroup
Return registration form and a check for $. : The University of the Arts {Hearsay } : HearSay c /o Dean Stephen Tarantal College of Art and Design, The University of the Arts ––––––––––––––––––––––––––––––––––––– South Broad Street, Philadelphia, PA ✂ South Broad Street Philadelphia, PA www.uarts.edu